Signs of the seasons, Feb 7, 2012, acrylic on canvas, 66 x 66 cm
This is a painting that continues the series of the Four Seasons. The four quadrants represent the cycle of seasons beginning with Winter in the upper left and continuing clockwise with Spring, Summer and Autumn.
The Vessel, Jan 17,2012,coloured pencil on paper, 56 x 76 cm
The drawing is an image of an earthen ware jug with verses inscribed into the paper surface. The verses, in English translation,are from the Qur’an and the meaning of the word vessel is used in the context of each verse.
Studio Light, Dec 23, 2011, pencil drawing, 77 x 111.5cm
Detail of image
Click on image to enlarge
The four drawings represent the seasons of winter, spring, summer and autumn. The drawings seen together form a circle which is subdivided into four quadrants. The drawing is a study for a painting. This image is a continuation of the idea which is also seen in an earlier painting shown below installed in an exhibition at Trajectory Gallery.
The Four Seasons, 4 canvas panels, each 152.4 x 152.4 cm
The final painting shown below, each canvas panel is 61 cm x 61 cm
Winter Spring Summer Autumn, Oct 24, 2011, acrylic on canvas
Eclipse, Aug 12, 2010, pencil drawing, 21.5 x 27.9 cm
Eclipse, Aug 19, 2010, pencil drawing, 21.5 x 27.9 cm
Study for Blackfriars Bridge, London 1958, Aug 29, 2009, pencil drawing, 21.5 x 27.9 cm
There are several images where the moon in the sky or depicted with a river is used as a subject . The mural size, mixed media drawing shown below left is an earlier example depicting the moon with a river and embankment. This drawing shows a prominent linear element using calligraphic mark making to create movement and direction. This gestural aspect of the drawing is a kind of planned spontaneity structured around a asymmetrical composition reminiscent of Japanese screen painting.
Moon and River, Feb 1978, pencil, charcoal and paint on paper, 211.5 x 620.5 cm
Moon before eclipse,12 – 1am, July 6 1982, pastel and pencil on paper, 22.8 x 28.6 cm
Moon in Black Sky, Lunar Eclipse 5, Aug 16,1989, pencil and acrylic on paper, 20.6 x 30.3 cm
Detail, Moon and River
Journey, Dec 31, 1977, acrylic on canvas, 151.7 x 122.5 cm
Detail Journey 1977
The Watercourse Way – Stations Of The Cross, 1979, acrylic on 6 canvas panels, 152.4 x 548.6 cm
Diptych, Study for Landscape with Moon, Jan 28, 1982, pencil and pastel on paper, 21.5 x 27.9 cm
Diptych, Study for Landscape with Moon (2 left hand panels) , Jan 28, 1982, pencil and pastel on paper, 21.5 x 27.9 cm
Diptych, Study for Landscape with Moon , Jan 28, 1982, pencil and pastel on paper (2 right hand panels), 21.5 x 27.9 cm
Red moon, Lunar Eclipse 2, Aug 16, 1989. acrylic on paper,22.6 x 30.3 cm
Moon in dark night sky, Lunar Eclipse 1, Aug 16, 1989, acrylic on paper, 22.7 x 30.2 cm
The moon viewd by Al Battani, 888AD, Feb 2, 2010, pencil on paper, 75 x 75 cm
Moon and River, 2011, pencil on paper,
Detail of Moon
Detail, River
Winter Moon and House for Laila, Jan 3, 2013, 20.3 x 27.3 cm (image)
Moon and Cottage, Red Bay, for Emily, Jan 12, 2013, 19.9 x 27.4 cm (image)
Moon over Blackfriars Bridge, March 1, 2016, graphite on paper, 21.5 x 27.9 cm
Counting Prayers at the Table , Feb 2, 2017, paper relief and acrylic on masonite, 61 x 61 cm
The Miracle, Pastel on board, July 10, 2017, 42 x 76 cm
Detail, The Miracle
Counting prayers,i the garden, after midnight, Aug 9, 2017, pencil on paper, 21.5 cm x 28 cm
Counting prayers in the garden after midnight, Dec 21, 2017, pastel, graphite, acrylic paint and collage on paper, 102.2 x 66 cm
Detail, Counting prayers
Detail, Counting prayers
Moon Over Kaaba, July 16, 2011, pencil on paper 24.9 x 32.4
Black Moon over Kaaba, 2017, pencil on paper, 22.8 x 30.4 cm
The image of the Moon, the celestial satellite is contrasted with the Earthly Kaaba, the cubic House of Allah (God) which is known as the first place of worship built by the prophet Adam and later reconstruced by the prophet Abraham and his son Ishmael. The halo lines surrounding the Kaaba represent the pilgrims in the circumambulation or tawaf.
The drawing below shows the Ninety Nine Signs in gold paint on a background with incised markings and coloured pencil utilizing the texture of the paper surface. This is a study for a painting and continues the series based on the 99 Names of Allah. Each symbol represents one of the signs or qualities of Allah.
The Ninety Nine Signs of Allah, drawing
The drawing is organized on a grid composition.
Detail of the Ninety Nine Signs
This image is of the painting at an early stage showing the Ninety Nine Signs. The detail is a closeup showing some of the signs in relief with underpainting texture on the gessoed panel prior to the final painting.
The Ninety Nine Names, 2011, pencil on paper, 76.8 x 94 cm
A map with the Ninety Nine Signs, Oct 31, 2017, paper relief cast, pencil, marker, acrylic paint, 141.6 x 84.4 cm
Relief paper cast, detail
The 99 Signs web, Jan 1, 2018, pencil and marker on paper, 102.2 x 66.7 cm
Detail, The 99 signs web
This drawing is another image which explores the use of symbols to represent the traditional names of Allah or God. The image below right shows a detail of the drawing which is divided into 99 squares with a name in each square. A stylus was used to enscribe each name and also add a texture to the paper surface. Pencil was drawn over the paper surface to reveal the names and texture. The image of a bent nail, each one a different shape, has the appearance of calligraphy and is used as a symbol for each name. The nail symbols have a shifting orientation to the four cardinal directions which represents what one would do if facing Mecca to pray in different parts of the world.
Detail
The names when reflected upon reveal the attributes associated with each name. The first name is Allah, the One who is Eternal which is placed in the centre. The next name is The Merciful, Al Rahman in Arabic which is in the top left corner. The transliteration of Arabic into English is used for each name. The names continue left to right and down the length of the drawing. The names are purposely not visually dominant allowing the viewer to search and discover the name and its’attributes. Traditionally one would commit the names to memory and recite the names as a spiritual practice and devotion. A treatise of the ninety nine names can be seen in a text, Al-Ghazali, The Ninety-nine Beautiful Names of God.
The Ninety Nine Names, 2011, pencil on paper, 76.5 x 94 cm
Pencil drawing of painting in studio
The environment of the studio can be visually engaging as one works on various ideas. Considering the quality of light as it enters the work space, at different times of the day and season to season, can be a factor in the choice of colours and their value as work progresses on an art work. The image shown left is an earlier drawing of a studio view which shows the interplay of the painted view of a still life on an easel in the foreground, see image below right, and another simple still life in the background. The picture plane is divided by dominant diagonals, the use of different implied textures and the suggestion of a strong light.
Homemade Lunch, Feb 28, 1990, oil painting, 61 x 61 cm
The drawing below is another approach to the still life with the environment of the studio and the exterior also being considered. The large north facing windows with stain glass panels, weather effects and light offer visual information to work with. The final image contrasts the inside with the outside but also have elements of opacity and transparency, movement as opposed to stillness and contrasts of textures and shapes.
Studio Light, Mar 3, 2011, pencil drawing, 21.5 x 27.9 cm
